near future design class at isia design: transmedia narratives

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    F for Fake


    o fate un elenco di elementi che si trovano in una rapina, tra cose che vedete, odorate, sentite, toccate, percepite,

    e le cose che sapete sul funzionamento di una rapina, i suoi personaggi

    10 minuti

  • Go and organize a fake hold up. Be sure to check that your weapons are harmless, and take the most trustworthy hostage, so that no life is in danger (otherwise you risk committing an offence). Demand ransom, and arrange it so that the operation creates the

    greatest commotion possible. In brief, stay close to the truth, so as to test the reaction of the apparatus to a perfect simulation. But you wont succeed: the web of art)ficial signs will be inextricably mixed up with real elements (a police officer will really shoot on sight; a

    bank customer will faint and die of a heart attack; they will really turn the phoney ransom over to you). In brief, you will unwittingly find

    yourself immediately in the real, one of whose functions is precisely to devour every attempt at simulation, to reduce everything to some

    reality: thats exactly how the established order is, well before institutions and justice come into play.

    Jean Baudrillard Simulacra and Simulation

  • segni, segnali, indizi

  • Thus all hold ups, hijacks and the like are now as it were simulation hold ups, in the sense that they are inscribed in advance in the

    decoding and orchestration rituals of the media, anticipated in their mode of presentation and possible consequences.

    Jean Baudrillard Simulacra and Simulation

  • Hyper-real

  • I dont need to actually be in a bank hold up because, through media of multiple types, I have been there a million times already.

  • Invisible cities, by Christian Marc Schmidt and Liangjie Xia


    in quella citt scegliete un quartiere o una zona

    cercate di sapere pi cose possibili di quel quartiere

    (luoghi, fatti, curiosit, cose che vi appassionano, cosa ne pensano le persone di quella zona o di qualcosa si trovi in quellarea, cosa fanno i turisti e i cittadini,

    cosa avverr nel futuro, cosa avvenuto nel passato, e cosa sta avvenendo proprio adesso)

    10 minuti



    vi levano la benda e vi hanno lasciano l, in mezzo alla strada nessuno parla la vostra lingua (non la capite proprio)

    avete uno smartphone

    come riuscite a capire dove siete? cosa fate?

    10 minuti

  • quanti sensi hai?


    fare una lista di sensi, inclusi quelli che sono stati modificati o che sono addirittura nati attraverso le tecnologie.

    10 minuti


    cosa sta succedendo?

    5 minuti

  • la STORIA nella MENTEe la creiamo noi, unendo indizi che vengono da tanti media differenti

  • Nine Moderns, scattered along two hundred miles of the Sprawl, had simultaneously dialed MAX EMERG from pay

    phones.Nine different police departments and public security agencies were absorbing the information that an obscure subsect of militant Christian fundamentalists had just taken credit for having introduced clinical levels of an outlawed psychoactive agent known as Blue Nine into the

    ventilation system of the Sense/Net Pyramid. Blue Nine had been shown to produce acute paranoia and homicidal

    psychosis in eight-five percent of experimental subjects.

  • In the narrative, the Panther Moderns combine multiple media and modalities to stimulate as many perceptive modalities as possible to make the people in the Sense/Net building believe that a fundamentalists have infected

    the building with a powerful hallucinogenic drug, thus causing violence and horror.

  • 9 phone emergency calls trigger an emergency response by the police forces, who actually go to the building

    showing video footage inside Sense/Net that triggers seizures in a certain percentage of employees

    introducing images of contamination in the CCTV circuit

    diffusing in the sound system of the building audio of a news segment dealing with a dangerous human growth hormone

  • the characters are placed in a situation in which they fail to distinguish reality from simulation: all the signals

    and hints from the surrounding environment suggest a version of reality which, technically, is not true, but which,

    in perception, is a real as they can perceive it.


  • a transmedia story represents the integration of entertainment experiences across a range of different media platforms

    Henry Jenkins, 2007

  • Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated

    entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story.

    Henry Jenkins, 2007

  • The films trilogy : The Matrix , Matrix Reloaded and Matrix Revolutions

    A series of animated shorts : Animatrix

    Two video games : Enter the Matrix and The Matrix : Path of Neo

    A MMORPG game: The Matrix Online

    An anthological graphic novel: The Art of the Matrix

    A series of comics : The Matrix Comics

  • the Human Preservation Project

  • Year Zero

  • This Man

  • Characteristics

  • Spreadability vs


  • Continuity vs


  • World Building

  • the actively engaged real-time viewer who must find satisfaction in each single episode and the more reflective long-term

    audience who look for coherent patterns in the story as a whole () [and] the navigational viewer who takes pleasure in following

    the connections between different parts of the story and in discovering multiple arrangements of the same material.

    Janet Murray

  • Negative Capabilities

  • When applied to storytelling, negative capability is the art of building strategic gaps into a narrative to evoke a delicious sense

    of uncertainty, mystery or doubt in the audience.

    Simple references to people, places or events external to the current narrative provide hints to the history of the characters and

    the larger world in which the story takes place.

    This empowers the audience to fill in the gaps in their own imaginations while leaving them curious to find out more.

    Geoffrey Lang

  • Migratory Cues

  • A Migratory Cue, thus, is the stimulus to change media, to follow one of the hyperlinks exposed by the transmedia narrative, and to engage in a different chunk of the world

    which it refers to and actively manages to build.

  • Seriality

  • We can think of transmedia storytelling as a hyperbolic version of the serial, where the chunks of meaningful engaging story information have been dispersed not

    simply across multiple segments within the same medium, but rather across multiple media systems.

  • Subjectivity

  • The notion of different subjectivities participating to forming the overall narrative has, too, already been

    mentioned in the previous sections. For example while making the example of Marvel Comics and their

    continuity, in which the same story is viewed from different points of view.

    Transmedia narratives often explore the central narrative through new eyes, such as secondary characters or

    third parties.

  • Performance

  • the ability of transmedia extensions to lead to fan produced performances that can become part of the

    transmedia narrative itself.

  • Cultural Attractors: draw together a community of people who share common interests.

    Cultural Activators: give that community something to do.

  • TA-DAAAAAA!il tema di questanno!

  • ?

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